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The article compares the aesthetic notions of the "je ne sais quoi" (as it emerges in the Renaissance and is widely debated in the eighteenth century) and of the 'uncanny' as theorized by Ernst Jentsch and Sigmund Freud in the early twentieth century. Its hypothesis is that both notions, in situating aesthetic experience in a liminal space between pleasure and trouble, can be considered after-images of non-aesthetical notions - notions that belong to the domain of the sacred and have metamorphosed as forms of aesthetic undecidability through the paradigmatic fracture of early modernity. The article focuses on depictions of female figures directing their gaze upward - in the iconography of Sade's Justine, in popular imagery connected with Lourdes apparitions (1858), in medium photography, and in the images taken by Charcot of his hysterical patients at the Salpêtrière - and argues that they become a Warburgian Pathosformel indicating a space of undecidability and 'nonsense' between the subject and otherness.
The success stories of design-oriented companies like Apple, Audi or Nike have put design on the agenda in many marketing departments. Consumers cannot elude the effect of aesthetics and therefore design is a major factor for business success. Typically consumers choose the product with the best design, all other aspects being equal. Only when the interplay of product characteristics, brand and design is carefully coordinated can successful products be created. This requires an integrated approach to design, one which is applied right at the beginning of the value chain. Product development, marketing and design need to work in close cooperation, communicate well and frequently, and collect feedback from the market. Superior aesthetics are always important but should be a top priority in cases where efficiency-oriented Asian competitors are able to offer functionally similar products at much lower prices.